Monday, October 15, 2007

program : minus_1 /sonic_text_sample

S.R.A_1 : interior ( time flow machines set to no)

Stimulus Reduction Architecture

1-silenceA space that is a completely self-contained environment and that is designed so that no sound can infiltrate it.It is a space in which someone can detox/defrag from the noise pollution that pervades the city_scape.The design for the interior of this space and the methodology of the flow of the users should be based on the concept of silence on every level: the construction (interior and perhaps exterior) which the user enters should , at its core, have the least possible(degree zero if possible) audible and visceral stimulus.This structure can be a formal(ready made) store-type building which is mutated for the above purpose or it can be an original design structure that is built-up solely for the above mentioned function.

Sunday, October 14, 2007

program : minus_1 (text to follow)

program : minus_1 /text

minus_1 means minus the mediation of self reflective thought patterns , the internalization of ideas,the critique of possible forms and structuresminus one does not mean that these behaviors will be deleted, but it does mean that they will be overtly revealed in public space/open sourcethis means that the rough drafts/the first materials and all that one may consider the building blocks for a " work", and specifically for the new ERASERS composition,will be transmitted without any "soft censorship" and without the mediation of the "personal aesthetics" of the variable personas that the ERASERS are.

Thursday, October 04, 2007

the policy of truth

Truth drugs developed by the KGB

A defector from the biological weapons department 12 of the KGB "illegals" (S) directorate (presently a part of Russian SVR service) claimed that a truth drug codenamed SP-17 is highly effective and has been widely used. "The 'remedy which loosens the tongue' has no taste, no smell, no color, and no immediate side effects. And, most important, a person has no recollection of having the 'heart-to-heart talk'" (the human subject feels afterwards as if they suddenly fell asleep). Officers of the S directorate used the drug primarily to check the trustworthiness of their own illegal agents who operated overseas. [2] Assassinated FSB officer Alexander Litvinenko suggested that Russian presidential candidate Ivan Rybkin was drugged with the same substance (identified as SP-117) by FSB agents during Russian presidential election, 2004 (he dropped out of the presidential race due to the alleged kidnapping and drugging by FSB agents) [3]

consciousness is just a machine reflecting on itself

shutter speeds(assemblage one for distance deleted)

1. In none of the traditional arts is there such a wide gap between possibilities and facts as in the cinema. Motion pictures act directly upon the spectator; they offer him concrete persons and things; they isolate him, through silence and darkness, from the usual psychological atmosphere. Because of all this, the cinema is capable of stirring the spectator as perhaps no other art. But as no other art, it is also capable of stupefying him. Unfortunately, the great majority of today's films seem to have exactly that purpose; they glory in an intellectual and moral vacuum. In this vacuum, movies seem to prosper.

2. Mystery is a basic element of all works of art. It is generally lacking on the screen. Writers, directors and producers take good care in avoiding anything that may upset us. They keep the marvelous window on the liberating world of poetry shut. They prefer stories which seem to continue our ordinary lives, which repeat for the umpteenth time the same drama, which help us forget the hard hours of our daily work. And all this, of course, carefully watched over by traditional morals, government and international censorship, religion, good taste, white humour and other flat dicteria of reality.

3. The screen is a dangerous and wonderful instrument, if a free spirit uses it. It is the superior way of expressing the world of dreams, emotions and instinct. The cinema seems to have been invented for the expression of the subconscious, so profoundly is it rooted in poetry. Nevertheless, it almost never pursues these ends.

4. We rarely see good cinema in the mammoth productions, or in the works that have received the praise of critics and audience. The particular story, the private drama of an individual, cannot interest - I believe - anyone worthy of living in our time. If a man in the audience shares the joys and sorrows of a character on the screen, it should be because that character reflects the joys and sorrows of all society and so the personal feelings of that man in the audience. Unemployment, insecurity, the fear of war, social injustice, etc., affect all men of our time, and thus, they also affect the individual spectator. But when the screen tells me that Mr. X is not happy at home and finds amusement with a girl-friend whom he finally abandons to reunite himself with his faithful wife, I find it all very moral and edifying, but it leaves me completely indifferent.

5. Octavio Paz has said: "But that a man in chains should shut his eyes, the world would explode." And I could say: But that the white eye-lid of the screen reflect its proper light, the Universe would go up in flames. But for the moment we can sleep in peace: the light of the cinema is conveniently dosified and shackled